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THE KING PIN 



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COPYRIGHT, 1889, BY WALTER H. BAKER & CO. 



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The King Pin 

A Comedy in Three Acts 



By 

CARL L. OSWALD 



Copyright, i 9 i i , by Carl L. Oswald 



The professional stage rights in this play are reserved by the author, 
and all persons wishing to produce it publicly and for profit should apply 
for permission to him in care of the publishers. Amateurs may pro- 
duce it without permission. 



BOSTON 

WALTER H. BAKER & CO. 



The King Pin fSCsr 

CHARACTERS 

Tom Ward, editor of the " Daily Post.'' 

Cyrus C^m^wo^, president of the Central National Bank. 

Jim Fredericks, reporter for the " Post." 

Joseph Cameron, son of Cyrus. 

Dick Thompson, a friend. 

Fred Harwood, a politician. 

John Connors, a politician. 

Thomas, the butler. 

Ruth Cameron, daughter of Cyrus. 

Betty Ward, Tom s sister. 

Mabel Carothers, "X r • j jr t> 4* ^ r> j? 

Edith Schuyler. | /^^^'^^^ 'f^'^^y ^""^ ^«^^- 

Time. — First week in September, any year. 



SYNOPSIS 

Act I. — Library in the home of Cyrus Cameron. Afternoon. 
Act II. — Office of The Daily Post. The next morning. 
Act III. Room in the home of Cyrus Cameron. The same 
evening. 




Copyright, 191 3, by Walter H. Baker & Co, 

f 

©CI.O 33696 



The King Pin 



ACT I 

SCENE. — Room in hoj?ie of Mr. Cyrus Cameron. Time^ 
the first week in September ^ any year. After 710071. Sce7ie 
is set to represent a room ope7iing i7ito a fairly wide hallway^ 
rear left. Down stage is a large library table. Dave7iport 
rear lefty and 7iU77ierous other chairs are placed about. Door^ 
left front. Fireplace^ right. 

{As curtain rises ^ Thomas has hand on knob of door and 
has door slightly ajar. He is speaking to some one inside.^ 

Thomas. Yes, sir, thank you, sir. I'll see that you are not 
disturbed. 

{Closes door softly and walks to rear center ^ where he 
stands faci/ig fronty very solemn and stately. Noise off 
rear rights whistling or singings by Joseph Cameron, 
after which he enters rear center and comes down right y 
slapping Thomas 07i the back as he passes hitn. Joe is in 
tennis costume. Thomas wilts so77iewhat under the blow, 
but recovers his poise a7id stands impassive.') 

Joe. Hello, Fossil-face, — busy? 
Thomas. No — er — yes, sir, thank you, sir. 
Joe. You look it. (Pauses.) Say, Thomas, do you like 
your job ? 

Thomas. Yes, sir, thank you, sir. 
Joe. Like it very much, eh ? 
Thomas. Yes, sir, thank you, sir. 

(Joe walks left disgustedly. Thomas looks a?ixious. Joe 
turns quickly.) 

Joe. Thomas, I think you're dippy. 

Thomas, Yes, sir, thank — er — was there anything else, sir ? 

3 



4 THE KING PIN 

Joe. No. (Thomas starts to exit^ rear left.) Er — yes. 
Where's Dad ? 

(^A 7nuri7iur of voices from behifid left front door. Joe puts 
hand to ear listenmg, then drops it aiid turns to Thomas.) 

Thomas (nervously indicating door left front), Er — in— 
ah — in his room, asleep, sir. He said that he was not to be 
disturbed. (Regains his poise.) 

Joe. Dad? Asleep at this time of day ? Come again. 

Thomas. Yes, sir. There was — er — a directors' meeting 
here last evening and it tired your father very much, so after 
lunch to-day he decided to take a nap. Is that all, sir ? 

Joe. Yes, that's about all for you. You've lied about 
enough for one day. [A murmur is again heard from behind 
door, left front.) Listen to that, he's talking in his sleep. He 
needs a doctor, and you — you need a better education in the 
fine art of lying. 

Thomas. Yes, sir, thank you, sir. 

(Turns and walks stiffly off, rear left.) 

Joe (looking at door of father's room and continuing). I 
wonder who's in there with Dad ? Some politician undoubt- 
edly. I wish Dad would cut out the dirty politics and give the 
papers a chance to roast some one else. 

Enter Jim Fredericks, rear right, 

Jim. Hello, Joe. 

Joe. Hello, Jim. - ' 

Jim. I looked all over town for you this morning. I wanted 
you to go fishing. 

Joe. Fishing? No chance around here, — the fish-markets 
are too busy keeping the anglers' club supplied. 

Jim. Well — what's the objection to fishing and selling the 
results to the fish-markets? 

Joe. Too uncertain, — especially when one has his weather 
eye on the matrimonial market. 

Jim. Said one being me ? 

Joe. Exactly. 

Jim. But who said I have my eye on — er — the matrimonial 
market ? 

Joe. Nobody said so. The fact is very evident. 

Jim. Gee ! And I thought I had my goggles on. 

Joe. Well, I don't blame you • Miss Carothers is a peach, 



THE KING PIN 5 

Jim {sarcastically). Say, you've got an awful nerve, — 
butting in on my affairs like that. 

Joe (aggrieved'). Butting in ! Why, if you don't know 
that you're in love with Mabel Carothers, you're the only one 
in town who don't, that's all. 

Jim (startled). Does Mabel know ? 

Joe. Well, if she don't she ought to. The bunch was kid- 
ding her about it this morning and she became quite peeved. 

Jim. I don't blame her. You people ought to have your 
heads knocked together for starting a mess like this. By the 
way, where were you this morning ? 

Joe. Out for a spin in Tom's new motor boat. 

Jim. Did Tom take you ? 

Joe. Yes, and Betty and Ruth also. We had lunch down 
the river, and then we came back here for the fun this after- 
noon. 

Jim. We ? Is Ward here now ? 

Joe, Yes, he is out on the courts playing with — oh, some- 
body. 

Jim. Huh — funny — I saw a bunch out there as I came in, 
but I didn't see him. What's doing? 

Joe. Ruth is giving sort of a " combination " lawn party 
and tennis match this afternoon for the royal party. 

Jim (blankly'). The royal party ? 

Joe. Sure, hard head. The attendants of the king and 
queen of the carnival. 

Jim (seeing light). Oh, sure. By the way, who is to be 
king of the carnival this year ? 

Joe. Nobody knows but the committee, and they don't say 
anything. Of course, the one to be king knows about it by 
this time and I imagine the next queen is pretty definitely 
decided upon, too. 

Jim. Why? 

Joe. Because the king has the privilege of choosing his 
queen. 

Jim. That's right. I'd forgotten. But they must both be 
taken from the royal party, mustn't they ? 

Joe. By Jove, that's right. They must be here now. 

Jim (hauling out note-book and pencil). Who are the guests 
this afternoon ? 

Joe. Oh, let's see. Tom and his sister (Jim begins 

to scribble in his note- book and JOE notice^ it.) Herej wh^t are 
you doing ? 



6 THE KING PIN 

Jim. Taking notes. 

Joe. What for? 

Jim. For the society column in the Post. I'm reporting 
there now, when I'm not receiving or sending mail or doing 
other odd jobs. You see, I'm sort of confidential secretary to 
the Honorable Thomas Ward, Esq. 

Joe. Good for you; keep up the good work and you'll 
own the paper yet. Doesn't Ward's father do any more edi- 
torial work ? 

Jim. Very little. Most of the stuff goes to Tom or to the 
city editor. 

Joe {laughing). Oh, I see. And you in your position as 
reporter came up here to put our little festivity in the " agony 
column," eh ? 

Jim {uneasily). Er — no — not exactly — er— you see, I came 
to see your father. 

Joe. So? Well, I don't know whether you can or not. 
There was a directors' meeting here last night (Jim repeats 
business with note-book) and it tired poor father dreadfully. 
At present 

Cy. {behind door at left front). I tell you he can't be 
bought ! 

Joe {continuing with a grin). At — present he is taking a 
nap. 

Jim. So it appears. Well, I'll run out and see Ward, and 
if your father can see me soon, let me know, will you ? 

Joe. All right, I will. 

Jim {as he exits right). Thank you, I'll be on the courts. 

Enter Fred Harwood, rear right. 

Har. Hello, Joe. 

Joe. Hello, Mr. Harwood. Here for the party? 

Har. Not exactly. I'm here to see your father. 

Joe {glancing toward door). Well — he's busy just now — 
but {indicating a chair) if you'll just be seated, I think you 
can see him soon, if you care to wait. 

Har. Thanks, I'll wait. 

Joe. All right — er — if you'll excuse me. I want to get my 
tennis racket. Must do my share of the entertaining, you 
know. 

Har. {as Joe exits rear left). Sure thing — run along, 
don't mind me, 



THE RING PIN 7 

(After Joe is gone he looks cautiously about the roo?ft, then 
rises and walks about, looking suspiciously here and there. 
He finally stops at door left front^ listens ^ then goes to 
table. lie opens a drawer and begitis to look through 
letters a?id papers in iti) 

Enter Thomas, rear right. 

Thomas. It isn't there, sir. 

Har. {starting, closing drawer sharply and turning, very 
much relieved when he sees Thomas). Oh, it's you, is it? 
Of course it isn't there. Do you suppose a man of Cameron's 
intelh'gence would leave a dangerous article like that around ? 

Thomas. I don't know, sir. But when I was in Mr. Cam- 
eron's room this morning, I saw a letter on his desk which bore 
the business address of Mr. Fitzpatrick. 

Har. {excitedly). The very one I told you to get. Did 
you take it ? 

Thomas, A mere accident, sir. The wind blew it on the 
floor, and, fearing it might be lost, I placed it in my pocket, sir. 

Har. {impatiently). Oh, out with that high and mighty 
stuff, and come down to business. I offered you ten dollars if 
you would deliver that letter to me. Have you got it ? 

Thomas. I have a letter, sir. 

Har. To whom addressed ? 

Thomas. Mt. Cameron. 

Har. Typewritten ? 

Thomas. No, sir, pen and ink. 

Har. Here's your money. Fitz never wrote a letter yet 
unless he didn't dare to dictate it. (Thomas takes the mo?iey and 
exits, left rear. Har. comes to front of table, leans against 
table, opens letter, and reads.) " Dear Cameron : If you elect 
me mayor this fall the bank gets the city business. Look out 
for Ward. Good luck, Fitz." Well, this puts me in right. 
Cameron is working for Fitz, and so am I. We both get a good 
shake-down if Fitz wins, but in any case Cameron would do 
anything to keep this from being published, so I can't lose. 

{A murmur of voices from behind door left front. Har. 
hastily puts the letter in his pocket, and exits right rear.) 

Enter Cyrus Cameron and John Connors. They go to table 
at center. 

Cy. Well, Connors, are you convinced ? 



8 THE KING PIN 

Con. Yes, I'm convinced, all right. You can't get his sup- 
port in any other way, but don't give him a chance to hit back, 
because he'll do it, and do it hard. 

Cy. Bahl Nothing of the sort. His paper has more influence 
than any other one in town, I'll grant you that, but he is so oc- 
cupied with his foolish carnival business at present that he can 
think of nothing else. 

Con. Why, what has he to do with the carnival ? 

Cy. {shortly). Chairman of the decorating committee. 

Con. Indeed ? 

Cy. Yes, and what's more, I happen to know that he is to 
be king of the carnival. 

Con. {smiling broadly). Oh, this is too easy. 

Cy. You've changed your mind rather suddenly. 

Con. Sure thing. Why, if we threaten to foreclose on him 
he won't have the nerve to— — 

(Cy. lays his finger on his lips warningly. Enter liiiiy rear 
left.) 

Jim. Oh, pardon me, I thought that you were 



Cy. {testily). Yes, yes, I was asleep, but I'm not now. 
What do you want ? 

Jim. Mr. Cameron, I have come to ask you, in behalf of the 
Grand Council of the Five Nations, to decorate your bank for 
the carnival. 

Cy. Oh, you have, eh ? Well, you've come on a useless 
errand. Why should I decorate my bank ? And if I should, 
why isn't it of sufficient importance for your worthy chairman 
to handle ? 

Con. Yes, especially as the chairman is at present playing 
tennis on the courts. 

Enter Joe, left rear^ carrying racket. 

Cy. Ward here ? Now ? {Sees Joe, who has come down 
stage.) Joe, skip out and tell Ward I must see him at once. 

[Exit Joe, right rear. 

Con. Well, Fredericks, how are your plans for decorating 
progressing ? 

Jim. Quite nicely. Practically every large business block 
in the city is being decorated. It really seems, Mr. Cameron, 
that your bank, being on the line of march for the carnival 
parade, would cause a great deal of comment if it were to remain 
undecorated. 



THE KING PIN 9 

Cy. And if it were decorated ? 

Jim. Then the comment would reverse and undoubtedly 
prove of great advertising value. 

Cy. Nonsense ; the bank is there for business, not for such 
silly pranks. (^Grows excited.') I tell you the bank can't af- 
ford to spend money on such idiocy, and that ends it. 

Jim. But, Mr. Cameron 

Cy. {evenly). Our business is ended. Good-day. 

(Jim starts to exit rear but meets Joe, who enters with Betty 
Ward.) 

Joe. Hello, people. (Jim hows to Betty, and takes posi- 
tion rear centre.) Mr. Connors, allow me to present Miss 
Ward. 

Con. {looking in bewilderment at Cy., who returns look. 
Con. swallows hard once or twice, and then awkwardly taking 
Betty's hand). How — d'ye do — Miss Ward? 

Betty {cheerily). How — do you do, Mr. Connors? 

(Con. turns and goes right very awkwardly. ) 

Joe. And this, Betty, is my father, — Dad — Miss Ward. 
Cy. How do you do ? 

(Betty has advanced with hand outstretched, but Cv. calmly 
ignores if.) 

Betty {lamely). How do you do, Mr. Cameron ? 

Cy, Joe, did you see Ward ? 

Joe. Yes, sir. He said that he would be in as soon as he 
finished that set that he is playing with Ruth. 

Cy. {excitedly). What? Does that young upstart consider 
a game of tennis of more importance than business with me ? 
Come along, Connors, I want to finish that talk with you. 
(Con. exits left front. Cy. goes to door, left front, and turns.) 
Joe, when Ward does find it convenient to speak to me let me 
know, please. \_Exit, 

Joe. Yes, sir. 

{Turns to Betty, who is at the front of the table, leaning 
against it, looking straight ahead. He goes to table and 
places his hand over one of hers. Jim, who has been 
watching all this unnoticed, gives a look of amused com- 
prehension and tiptoes out, left rear.) 



10 THE KING PIN 

Betty (coldly ^ drawing her hand away). Well ! 

Joe {with a foolish grin). Uh-huh — pretty v/ell. 

Betty {turning on him angrily). Oh, indeed. You con- 
sider it well that you should insult me in this way? 

Joe {bewildered). Insult you, how ? 

Betty. Your father did not think it quite enough that I 
should be ignored, so he insulted me by insulting Tom. 

Joe, Now, Betty, please be reasonable. Dad 

Betty. Reasonable ? Of course. I came here as a guest 
of your sister, and now see what you have done. 

{She drops into a chair by the table and buries her face in 
her ha?idsy weeping.) 

Joe (^placing hand upon her shoulder). But, Betty 



Betty {shaking her shoulders). Go away, I hate you. 
(Joe shoves hands deep in trousers pocket and with a dejected 
air stands facing the front. Efiter Ruth Cameron, wearing 
tennis costume and carrying tennis racket. She looks from one 
to the other, then laying her racket aside she goes to Betty and 
puts her arms around her neck.) Go away, I hate you. 

Joe. Oh, all right. {Turjis, sees Ruth, and stops.) 

Betty (^looking up and seeing Ruth). Oh ! 

Ruth. What's the matter, dear? 

Betty {rising nervously). Nothing. 

Ruth. Yes, there is. Joe, what have you done ? 

Joe {sulkily). I don't know any more about it than you do. 

(Betty looks at him haughtily.) 

Ruth {hastily). Come, come, children, no tiffing, please. 
Joe, you run out on the courts. You have this set taken with 
Mabel Carothers, and she wants you to hurry. 

Joe {as he exits left rear). Dad wants to see Tom as soon 
as he comes in. 

Ruth. All right. Now, Betty, what's the trouble? Just a 
little lovers' quarrel, I suppose. 

Betty {looking away). No. — Please don't speak about it. 

{She rises and goes left, where she stands with her back to 
Ruth.) 

Ruth {coming to Betty). Please, Betty, perhaps I can help 
you. 
Betty. Really, it's nothing. 



THE KING PIN II 

Ruth. There is something wrong. Please tell me. 

Betty. Yes, I will. A few minutes ago I came in here and 
met your father. We were introduced, and he was positively 
horrid. But I didn't mind — until he called Tom names — and 
Joe seemed pleased about it. {She pouts,) 

Ruth {laughing). You poor, abused child. You should 
know that Dad doesn't like Tom, even though 

Betty. You do? 

Ruth {embarrassedy smiling'). I didn't say it. 

Betty. But you meant it. 

Enter during last speech^ Tom Ward, rear right. Carries 
rackety and wears tennis outfit. 

Tom {stopping rear). Please may I come in ? 

{The girls turn and see him. Ruth embarrassed.) 

Ruth {awkwardly). Why, of course — er — Dad wanted to 
see you. 
Tom. So I have been informed. 
Ruth. Shall I call him ? 

{She goes to table, Tom still rear ; Betty left.) 

Tom. No, there is no particular hurry. 

Betty {with a meaning look at Tom). Perhaps /could find 
him for you. 

Tom. Perhaps. (Betty starts to exit, right rear. As she 
passes him.) But don't exert yourself. 

(Betty laughingly makes a mock curtsey and exits. Tom 
advances to table where Ruth has seated herself .) 

Ruth. How did you enjoy your vacation ? 

Tom. To the fullest extent, thank you. 

Ruth. But that is too indefinite. Tell me about it. 

Tom. Well — the weather was glorious. 

Ruth. Please don't — of course it was. But what did 
you do? 

Tom. Oh, mooned around, canoed, swam and thought. 

Ruth. Thought? I'm surprised. That shouldn't be done 
during vacation. What did you think about? 

Tom. You. 

Ruth {looking away). Oh. 

Tom. Ruth, I've wanted to tell you scores of times, but 
I've been afraid. 



II THE KING PIN 

Ruth {innocently). You shouldn't be. 
Tom {covering her hand in his). Then I'll tell it now. 
I 

(Ruth rises.) 
Enter Betty, rear left. 

Betty {sneezing loudly ; HoM.and'R.VTYiturnittgy startled). 
I couldn't find him. 

Tom. Well, look again. (Betty exitSy laughi7ig. Tom 
calls after.') And don't forget instructions. 

Ruth. Instructions ? 

Tom. Yes — er — I told her to find him as soon as possible. 

Ruth. Oh, I see, anxious to escape. 

Tom. Please {he goes to the back of her chair) , I want to 
tell you 

Enter Har., rear right. 

Har. How do you do ? {They starts Ruth embarrassed.) 
Is Mr. Cameron in? 

Tom. Hello, Harwood. Yes, you'll find him out on the 

{Catches himself. Kvth glances at him smiling.) Oh, some- 
where near here. 

Har. Thank you. \^Exity rear left. 

Ruth. Who is that man ? 

Tom. He is an alderman, a member of the Grand Council, 
and chairman of the "King" committee. 

Ruth. Oh, yes ; he picks out the king and queen for the 
carnival, doesn't he? 

Tom. Not alone. His committee - picks out the king, and 
the king chooses his queen. 

Ruth. It must be fun to be queen— if one has the right 
king. Who is to be the king this year ? 

Tom. That is a secret known only to the king and the com- 
mittee. 

Ruth. I see. How are your plans for the carnival pro- 
gressing ? 

Tom. Very nicely, thank you — with one glaring exception. 

Ruth. Indeed ? And what is that? 

Tom. Your father. 

Ruth. You surprise me. I didn't know that Dad was in- 
terested in council affairs. 

Tom. He is — nevertheless. 



THE iClNG Pm 13 

Ruth. In what way ? 

Tom. In the most childish way possible. (Ruth starts.') 
Because I am chairman of the decoration committee he has seen 
fit to leave the bank undecorated — merely because I have oc- 
casionally attacked his methods in the columns of the Post. 

Ruth. What methods ? 

Tom. His methods of obtaining and holding control of the 
political situation in this city. 

Ruth. But why should you attack them ? 

Tom {warmly). Because they're crooked. (Ruth rises.) 
Er — I beg your pardon, I forgot myself. 

Ruth. Apparently. (^Coldly.) I think your interview with 
my father has been too long deferred. I will tell him that you 
are waiting. [Exitf left rear. 

Tom {disgustedly). In wrong again. Hope I have better 
luck with the old man. 

Enter Edith Schuyler, Mabel Carothers, Joe and Dick 
Thompson, talking and laughing. Tennis costumes, rack- 
ets j etc. ; fan?iing thefnselves as though Just from the 
courts. Mabel goes to chair near fireplace ; sits ; Tom 
at table, center ; Dick takes position back of Mabel's 
chair ; Edith and Joe go to davenport^ where they sit and 
talk earnestly. 

Edith. Perhaps Mr. Ward can tell us. 
Tom. At your service. 

Joe. We've been quarreling as to who is king of the car- 
nival. 

Tom {smiling). Don't you know? 

^l^'^\{doubtfully). No. 

Tom. Then what are you quarreling about? 

Edith. But you ought to know. 

Tom. Perhaps I do. 

Mabel. Then if you do, please tell us. We are all to be 
members of the royal party, so I think we ought to be told. 

Tom {sfniling). If you should know, would that make a 
difference in your loyalty ? 

Mabel. No, perhaps not, but it would settle the question 
of who is to be queen. 

Tom {enigmatically). Perhaps. 

Dick. I think Mabel would make a royal-looking queen. 

Mabel {rising haughtily). Do you think so, King Richard ? 



14 THE KING ?m 

Dick. Not so, your Majesty. Merely Sir Dick, your humble 
servant. (Bows grandly?) 

Mabel {curtseying and going to table on which Tom has 
seated himself). Wouldn't it be delightful if the king, who- 
ever he may be, were to be of the same opinion as Dick ? 

(Joe and Edith are still on the davenport talking.') 

Enter Ruth, left^ during Mabel's speech. She stops rear 
and looks into room, 

Tom {dryly). I'm sure any king could be proud of you. 

(Ruth tosses head and exits right rear.) 

Mabel. Flatterer. 

Dick {impatiently). We have the set to finish, I believe, 
Miss Carothers. 

Mabel. Oh, very well. Sir Impatience. {To Tom, as she 
leaves him.) Be sure that your list of royal possibilities con- 
tains my name. 

Tom. It shall head the list. 

Mabel. Thank you. \Exit right rear with Dick. 

Joe. Are we going to finish that set ? 

Enter Jim ; stops rear, 

Edith {risiftg). Yes. I'm cool now. I am sorry, Mr. 
Ward, that you refuse to satisfy our curiosity. 

Tom. " Refuse" is a harsh word. But let it stand. Your 
curiosity will soon be satisfied. 

Joe. When is that ? 

Tom. When the carnival begins. 

Edith. 

Joe. 

{Disappoifttedly they talk together and exeunt rear right , 
exchanging conventional salutations with Jim as they pass 
him. Jim comes down stage.) 

Jim {curtly). Hello. 
Tom. Hello, what's news ? 
Jim. To you or to me ? 

Tom. To both of us, of course. We know each other's 
business, I guess. 



!™- \ Oh ! 



THE KING PIN 1 5 

Jim {advancing). Yes — we do — not. For instance, why 
didn't you tell me that you are to be king of the carnival ? 

Tom {startled). Not so loud. That's supposed to be a 
secret. 

Jim. Supposed to be, but Cy knows it just the same. 

Tom. VVhat? That's impossible. 

Jim. Maybe, but that's where /got it j and another thing; 
I never knew before that the bank holds a fifty thousand dollar 
mortgage on the Post. 

Tom. Jim, for Lord's sake, loosen up. Where have you 
been ? How did you find this out ? 

Jim. Easy now, one at a time, and I'll tell you. You re- 
member my coming out on the courts and telling you how flat 
his nibs turned me down ? 

Tom. Yes, yes. 

Jim. Well, after that I took a stroll around the house. As 
I came near the corner of the back porch I heard your name 
mentioned from somewhere behind the vines, and naturally I 
ducked. That's where I found out things. 

Tom. But how? What? 

Jim. Well, for number one I found out that your mortgage 
fell due day before yesterday. 

Tom. Yes, but I was intending to ask for an extension. 

Jim. Which you won't get, unless Ssh ! 

{Puts finger to lips.) 
Enter Cy. and Con., left front, 

Cv. Well, that's settled; I'll depend on you {Sees 

Tom.) Ah, you've decided to honor me, I see. 

Tom. I came as soon as courtesy to your daughter per- 
mitted, sir. 

Cy. Well, it's no consequence. You're here now, so to 
business. 

Tom {getting worried). Yes, sir. {Qy . ^ in meantime , has 
taken a seat at left of table, Con. at rear of table, and Jim is 
seated 7iear fireplace, right. 'Yo^ stands right of table.) But 
I have a bit of business I would like to dispose of first. 

Cy. Very well, let's hear it. 

Tom. Mr. Cameron, as you know, I am the chairman of 
the decorating committee for the carnival, and as you desired 
that I should do it, I now ask you to decorate your bank for 
the event. 



1 6 THE KING PIN 

Cy. {evenly). Yes, but why ? 

Tom. Civic pride and loyalty, sir ; or, if you will, for the 
more selfish reason that it is a good advertisement. 

Cv. Civic pride — bosh and nonsense. {Sarcastically.) The 
Grand Council of the Five Nations, — organized to draw atten- 
tion to our State fair and incidentally to boom the city. Huh, 
gold-bricks the people into thinking that the annual carnival is 
a free-will offering of the merchants of the city. 

Tom. But that's what it is, isn't it? 

Cy. {bitterly). Isn't it? I should say not, A bunch of 
highwaymen (Tom starts) squeeze the money for decorations 
from the business men, and these, in self-defense, take it out of 
the people in higher prices and short weights. You won't 
catch me decorating j no, sir. 

Tom. But it would be of value as an 

Cy. {testily and loudly). No ! The bank can't afford to 
spend money on such foolish and unprofitable trifles. 

(Jim, during this speech^ has taken note-book and pencil, and 
with wicked smile and glance at Cy., scribbles in book.) 

Tom. I'm sorry, sir, that you see it in that light. 

Cy. Your regrets won't change my attitude, but perhaps 
the outcome of what I have to say to you will influence me 
somewhat. (Pauses.) Won't you sit down? 

Tom. No, thank you. I think I'll take it standing, if you 
don't mind. 

Cy. Well, as you please. Er — Mr. Ward, you know my 
political connections, and I know that you oppose the candi- 
date whom I— er — that is 

Tom {quickly). Yes, the man you have chosen to be the 
next mayor. 

Cy. {smoothly). The man whom the party has nominated. 

Tom {shortly). Yes. 

Cy. Realizing the tremendous help that your paper could 
give the organization we wish to have its support in the present 
campaign. (Tom starts to leave.) Not, of course, without a 
suitable reward for its valuable services. 

(Jim whistles softly and takes notes. Har. strolls in rear 
left and stops rear.) 

Tom, I think, Jim, we have an engagement in the office. 
Mr. Cameron, I must thank you for your kind suggestion and 



THE KING PIN 1 7 

decline with thanks. I wouldn't support Fitz for mayor for 
anythhig that you could offer. 

(Jim and Tom go to rear.) 

Con. Just a minute, we're not through yet. Soak it to 
him, Cameron. 

Tom (rettirning to table). Well ? 

Cy. Ward, there is no use mincing matters. From now 
on it is war to the knife. {All group around table. Enter 
Joe and Ruth.) In the first place, your presence in this house 
after to-day is no longer desirable. 

Joe {advancing). But, Dad, I say 

Cy. Don't worry ; you keep out of this. (Joe looks arouftd 
helplessly, shrugs his shoulders and goes back to Ruth, who is 
ititensely interested. Cy. continues.) And in the second place, 
I'll have the support of your paper in this campaign. 

Tom {easily). If you are so sure of getting it, you might at 
least tell me how. 

Cy. With pleasure. The bank holds a mortgage on the 
Post, and that, as you know, matured day before yesterday ; 
and I also find that your balance in the various banks is too 
small to meet it. Now, if you will take until to-morrow to 
think about this, you might be in a more willing frame of mind. 

Tom {tensely). For what ? 

Cy. For the support of my candidate. 

Tom. And for that ? 

Cy. I'll cancel that mortgage. Otherwise the mortgage 
stands, and you may expect foreclosure in a few days. 

Tom {clenching his fist, pushing his hands in his pocket 
and turning from table and walking to right ; as he turns he 
sees Ruth, who turns away haughtily as he looks at her ; he 
returns to table). And my acceptance of your conditions 
would make me a welcome visitor here ? 

Cy. {eagerly). Why, of course, certainly. Are you going 
to do it ? 

Tom. No / {Tableau.) 



CURTAIN 



ACT II 

SCENE. — Office of * < Daily Post. ' ' Time, the next morning. 
Table up stage y ce?iter, littered with books and papers. 
Desk left and right, swinging office chair before each desk. 
Telephone on each desk. Two doors rear. Door down 
stage, right. 

{As curtain rises, Tom is seated at desk right. Jim at desk 
left. Both busily writing and looking over a mass of 
papers. Tom checking papers occasionally.) 

Jim {turni?ig in chair, lighting a cigarette and looking at 
Tom). Say 

Tom {without looking up). What ? 

Jim. Going to take an inventory ? 

Tom {turning). For what? 

Jim. For the sheriff's sale. 

Tom. Sheriff's sale ? What do you mean ? 

Jim. Well, Cameron won't be inclined to stop foreclosure 
after what you said about him in the morning's issue. 

Tom. No, I suppose not. But there isn't going to be a 
change of office force here for some time, nevertheless. 

Jim. But, Tom, couldn't you get a loan to cover the 
amount 

Tom. Now, Jim, don't worry. I've got the money, all 
right. 

Jim. Then you must have it tied up in a sock. 

Tom. Why ? 

Jim. Because I have 'phoned every bank in town asking if 
your account is good for five hundred dollars, and every one 
that happened to have any of your money said, *< No." 

Tom. Cameron did the same thing some time ago, but it's 
in one of those banks, nevertheless — under Burton's name. 

Jim. Who — our cashier ? 

Tom. The same. 

Jim. Well, I'll be {Pause.) Tom, did you know 

thai Cameron was going to fire this mine ? 

Tom. I suspected it. 

Jim. And you transferred your account on that suspicion ? 
18 



THE KING PIN IQ 

Tom. Yes, and my suspicion was justified. You remember 
he said he discovered that my bank balance was running 
low 

Jim. Yes, but how did he come to think that he knew that ? 

Tom. By calling up the different banks, — just as you did. 

Jim. Um — that's a good system. Say, Tom, I wonder 
why the old boy is so sore on you ? 

Tom. Chiefly because I'm the only influential factor buck- 
ing him — and he knows that if he can get me, the rest of the 
opposition will be down like ten pins. 

Jim. Therefore he's aiming at the King-pin. 

Tom. Exactly, and so it's up to the King-pin to stay on 
the spot and avoid being bowled over ; and to do that I must 
buck him whenever I get the chance. 

Jim. Well, you took a good shot at him by printing that 
stuff" I took yesterday. Gee, — I'll bet he'll boil when he reads 
that article. It's too bad you didn't print it sooner so as to 
avoid suspicion of being a sorehead. 

Tom. a sorehead, — what do you mean ? 

Jim. Just what I say. You didn't make up your mind to 
buck him so hard until after the lady fair turned you down 
cold, — now don't deny it, you got sore because your romance 
was a little frost-bitten, eh? How about it? 

Tom. Jim, cut that. — Maybe I was out for a little re- 
venge 



Jim. Uh-huh — maybe 

Enter Con. and Har. 

Con. {going to Tom, pushing paper into his handy pointing 
out a paragraph) . Read that. 

Tom {reading^. " In an interview with Mr. Cameron yes- 
terday afternoon it was definitely learned that the Central Na- 
tional Bank will not decorate its building for the carnival owing 
to its financial condition." {Hands paper back.) Anything 
wrong with it ? 

Har. Wrong? The bank is perfectly sound. Your article 
is a lie. 

Jim. Not quite, old scout. Connors can perhaps tell you 
what Cameron said at his home yesterday. How about it, 
Connors? 

CoN. {impatiently). Well, he didn't mean it in that way. 
You did a good job, though. The news spread among the 



20 THE KING PINT 

small depositors, and now there is a very healthy run in 
progress. 

l^lisfar^e^). What? 

Con. Yes, and it's mighty lucky that to-day is Saturday. 
(Looks at watch.) It's eleven o'clock now, and if the bank 
can hold out until twelve it's out of danger. 

Tom. And if not, Cameron is ruined ? 

Con. Yes, and you did it. You'll send the father of the 
girl you love 

Tom. Cut it, Connors. If you came to ask me to apolo- 
gize for that paragraph, you're in the wrong pew. Get out. 

Con. All right, I'll go, but don't forget that you still have 
that mortgage to meet. 

(Jim has gone to door^ rear right.) 

Jim. This way out, please. 

(Con. exits. Har. starts to follow.) 

Tom. Just a minute, Harwood. 

(Har. turns and comes down stage.) 

Har. Well? 

Tom {rapidly). Why did you tell Cameron that I was to be 
king of the carnival ? 

Har. Because he wanted — er — that is — I didn't tell him. 

Tom. That's what I wanted to know. Now if 1 hear that 
any one finds this out, I'll have you fired from the Council, 
understand ? 

Har. But — — 

Jim {at door). This way out. (Har. looks from one to the 
other y claps his hat on head, exits. Jim closes door.) Well, this 
is a mess. Gad, — I never thought of that — a run on the bank, 
phew ! 

Tom {disturbed). Just the small depositors. But if they 
keep at it long enough the large business men will fall in line- 
he mtist be tided over until noon or he is gone. 

Enter Betty. Jim scratches head in perplexed manner, goes 
to desk, sits and scribbles, looking through pages of copy. 
Tom goes to desk, and Betty comes to him. 

Betty. Tom, why did you do it ? 



THE KING PIN 21 

Tom. Do what ? 

Betty. Print those lies about Mr. Cameron. 

Tom. Betty, you don't understand anything about this. 
That article wasn't a lie. 

Betty. But Ruth 

Tom {angrily). Ruth believes what her father said, wo 
doubt, but if she expects to have me retract that article, slie's 
mightily mistaken. 

Betty. Now, Tom, don't be stubborn. Ruth has just lef; 
me and gone to the bank to see her father. They say that tlvj 
bank can't hold out until twelve o'clock. 

Tom {sharply). Who said so? 

(Jim swings around in his chair ; looks at Betty, startled. ) 

Betty {defiantly). Joe did. 

(Jim snorts disgustedly , turns to work again. Joe enters 
rear left unnoticed.) 

Tom. So Joe had a hand in sending you here, too, eh ? 

(Betty shocked.) 

Joe. No, he didn't. {They all look at him surprised.) 
But he's going to take a hand right now — Tom, I always 
thought that you played square, and when you attacked Dad's 
policies in your paper I sympathized with you, and now you 
do this — it looks as though the bank is done for, — and we're 
paupers. 

Tom, I'm sorry, Joe, — but as your father threatened to 
make me a pauper I can't see where I have any reason to feel 
that I have done wrong. 

Joe. Wrong, why you yellow journal muckraker — (Jim 
rises, picks up book ivith calculating eye as though to tluG-ci' it 
at Joe. Tom merely smiles ; Betty looks shocked) you're jnsi 
as crooked as the rest of them. {To Betty pleadingly.~) 
Please try to influence him to help Dad — -or at least to reiiaci 
that article. 

Betty {frigidly). The sister of a muckraker and a crook 
should be of little value as an intercessor. 

Jim {putting up coat collar, grinning^. B-r-r-r-r-r-r ! 

Joe {taken aback). And now you go back on me, I'm in 
the enemy's camp for^ fair. {Paces back and forth distract- 



22 THE KING PIN 

edly. 1 OM turns to desk.) I guess I'll go out and take a dose 
of carbolic. {Starts rear.) 

Tom {without turning), Joe 

Joe {stopping). What? 

Tom. Come here. 

Joe {coming to desk). Well, what now ? 

Tom {without looking up). Better make that dose light or 
you'll burn your stomach. (Jim laughs, turns to his work. 
Joe, without a word, crosses stage and exits left rear, slam- 
ming door as he goes out.) Well, Betty, another off the calling 

Betty {sighing). Yes, I suppose so. 

Tom {in a superior manner). But never mind. You'll 
have hrni begging for sugar as soon as this mess straightens out 
Betty {eagerly). Is it going to ? 
Tom {smiling). We shall soon see. 

^«/^r Edith, Mabel, Dick, rear left. Tom and Jim rise. 
Usual salutations. Betty sits at Tom's desk. 

Edith. Mr. Ward, is it true that Joe isn't going to be one 
of the royal court for the carnival ? 

Tom. I don't know, I'm sure; do you, Jim? 
Jim. Not here. 

Dick. But when we passed him coming in here he told me 
that he wasn't. 

Betty {half audibly drawing her breath). Qh » 

Tom. What's up? 

Betty. He and I were {She stops, embarrassed.) 

Nothing! {Rises.) I think I'll go and find Ruth. 

T^ „,, [^Exit, rear left. 

Dick. Whew ! So they are the royal couple, eh ? (Tom 
and Jim exchange glances.) Well, if this keeps up, they won't 
have a very enjoyable rule, will they ? 

Jim {dryly). Not very. But keep your wild imaginings to 
yourself, see? o o 

Dick. Oh, surely, I won't say a word about it. 
Tom. See that you don't. 

(Mabel goes to Tom, who is at table, center. Edith crosses 
rear and comes down left to desk at which she sits. Jim 
and Dick stand, leaning on desk, talki?jg quietly to her.) 

Mabel. Mr. Ward, are you good at short hand? 



THE KING PIN 23 

Tom (smi/i/ig). Try me. {Takes out note-book and pencil.^ 

Mabel. All right, take this. {Pause.) *< The king of the 
coming carnival is Mr. " {Pause.) 

Tom. Yes. {Reads.) << The king of the commg carnival 
is Mr. " {Pause.) 

Mabel. Well ? 

Tom. All well so far. 

Mabel. But Mr. who? Joe and Betty aren't king and 
queen, because they are assigned to a place in the king's retinue. 

Tom {smiling). You insist on asking what I can't answer. 

Mabel (disappointedly). You can answer if you wish, — I 
saw you and Mr. Fredericks exchange glances. 

Tom. Well, even if I can, I won't. 

Mabel. I'm so sorry. I want to know who is to be queen. 
{Enthusiastically.) The queen of the carnival. It must be 
perfectly great to rule, if only for a week. Don't you think it 
would be fun ? 

Tom {painfully). Great — er — Jim — perhaps our visitors 
would like to see the new presses. 

(Mabel shows disappointment.) 

Edith. That would be splendid. Won't you show them 
to us, Mr. Ward ? 

Tom {starting for door, rear right). With pleasure; right 
this way. 

(Dick and Edith cross to rear right, Tom in doorway.) 

Edith. Are you coming, Mabel ? 

Mabel {who has crossed to table). No, thank you; I have 
seen them before. 

Tom. Coming, Jim? 

Jim. No, thanks ; I've seen 'em, too. 

Tom {grinning). Oh, all right. Be back soon, 

{Exit Tom, followed by Edith and Dick. Jim turns to 
desk and becomes busily absorbed in his work.) 

Mabel {absently). Tom is a lovely man, isn't he ? 
Jim {abstractedly). Uh-huh. 

Mabel. And he's very much in love, too, isn't he ? 
Jim. Uh-huh— -what? Yes, it looks very much like rain. 
Mabel. Jim Fredericks ! 



24 THE KING PIN 

Jim {starting). Huh? {Tunis to her,) I beg your par- 
don, I took you for a book agent. What were you saying ? 

Mabel. I said Tom is very much in love. 

Jim. Oh, is that all? We can soon cure him of that. 
Who's the guilty party ? 

Mabel. Don't be silly,— he really is in love: I can tell 
that. 

Jim. How ? 

Mabel. Because he won't tell me anything. I tried to find 
out about the king of the carnival, and he wouldn't even 
tell me. 

Jim {in mock horror). My goodness gracious sakes alive, 
and a slap on the wrist, but what has that to do with his being 
in love? 

Mabel. Well, if he were not in love with somebody else, 
wouldn't he tell me everything ? Other men do— why is that ? 

Jim. Either they're in love with you, or they're fancy liars. 

Mabel. Jim ! But do you really think that he could tell 
me who is to be king if he were in love with me ? 

Jim. He might if he were an ordinary man, but he isn't : 
he's a politician. 

Mabel. What's the difference ? 

Jim. a politician knows when to shut up. 

Mabel. Oh! {Pause.) Are you an ordinary man ? 

Jim (self-consciously). Oh — ah — fairly. 

Mabel {slowly). Then why don't you tell me who is to be 
king ? 

Jim {crossing to her). For the love of Mike ! How did 
you know that I was in love with you ? 

Mabel {rising, goes to back of table ; 1m following. She 
retreats laughing). I didn't. I just wanted to find out. 

Enter Tom, Edith and Dick. 

Edith. Thank you so much, Mr. Ward ; the presses are 
splendid. Now you must be sure to come to the meeting of 
the carnival court this evening, will you ? 

Tom. Surely. Where is the meeting to be held ? 

Edith. Ruth will entertain us. (Tom is taken by surprise 
but quickly regains his composure. Jim, unobserved, grins at 
Tom's uneasiness.) You must be sure and come, because it is 
to be the last rehearsal. 

Tom {dully). I'll try. 

Edith. All right, that's settled. {Rises.) Well, I can't 



THE KING PIN 25 

sit and chatter all day. {Goes to door^ right rear, and opens 
it. Dick and Mabel follow^ talking together.) Be sure and 
come to-night. [^Exit. 

Mabel. And you, too, Mr. Fredericks. [Exit. 

Jim (as Mabel exits). Thank you. 

Dick (as he exits'). So-long, I'll see you to-night. 

(^Closes door,) 

T ^' \ So-lonff. 
Jim. j & 

Tom. Sure thing, ril be there, «^/ .' (J^akes papers from 

desk and looks at thein.) Here, Jim, take this stuff up to the 

composing room. I'm going down to speak to Burton about 

that deposit of mine. Cameron might need it. 

(Jim takes papers.) 

Jim. But, good Lord, man, you're not going to give it to 
him, are you ? 

Tom. You forget I owe him most of it. 

Jim. Sure you do, but if he can't get it to-day, he may not 
think of it for some time to come. 

Tom. Why? 

Jim {as he exits right front). He'll be too busy with his 
creditors. 

Tom {reflectively). Very true, James. { With sudden deter- 
mination.) So I guess it's up to me to hold off the creditors. 

\_Exity hurriedly, r. 

Enter Thomas, very much disturbed, but not forgetting his 
dignity. Goes to desky right. Picks up paper. Pause. 

Thomas {reading). " Owing to its financial condition " 

Oh — my goodness ! Mr. Cameron will lose his money and I 
will lose my job and my money, too. My entire fortune — and 
just as I was about to invest it in a new suit. I wish some one 
would come. 

{Goes back to table. Fiftgers over papers and books f then 
goes to Jim's desk and looks over papers there.) 

Enter Jim, right front. 

Jim {stopping^. Everything all right ? 
Thomas {turning, startled). Er — yes — sir — that is, sir, nOj 
sir, thank you, sir. 



26 THE KING PIN 

Jim {crossing to desk). Well, what's wrong? 

Thomas (very til at ease). Er — 1 — about that article, sir. 
I'm very much worried, sir. 

Jim {at table). Afraid you'll lose your job ? 

Thomas. Not that, sir, but I have a few dollars saved and 
in the Central National. Is it safe to leave them there? 

Jim {grinning wickedly aside, and very impressively). By 
no means. If you want to save your hard-earned pennies, 
withdraw your deposit at once. 

Thomas {rolling his eyes and zviliing visibly). Yes, sir, 
thank you. {Starts for right rear.) 

Jim. You'll get to the bank quicker by going through the 
office. {Indicates right rear. ) 

Thomas {still vacant-eyed). Thank you, sir. Good-day, 
sir. \^Exit r., rear. 

Jim {good'humoredly). Good-bye, you long-drawn-out string 
of misery. {Soliloquizes.) Huh — sort of a measly trick — but 
Cameron turned me down hard enough to deserve all he gets. 

{Goes toward desk, left front.) 

Enter Ruth, very much agitated, 

Ruth. Mr. Fredericks ! 

Jim {embarrassed as he sees her). How do you do. Miss 
Cameron ? Er — {indicating chair near table) won't you sit 
down? (Ruth sits down, paifful silence, Jim fidgets and 
Ruth shows impatience. Jim bursts out idiotically.) How 
well you are looking. 

Ruth {smilingly). You have a keen eye. (Jim, unob- 
served, kicks himself and appears generally disgusted with 
himself. Ruth, after pause, looks vacantly away from hifn.) 
Mr. Fredericks, do you know why Tom — er — Mr. Ward in- 
serted that paragraph in this morning's Post? 

Jim. Self-defense. 

Ruth. Why should he have to defend himself? It looks 
more like childish revenge. 

Jim {aside, admiringly). Not a bad guess. {To Ruth.) 
His reasons can best be given by himself. (Tom enters rear 
right ; stops in doorway unnoticed.) And I'm very sure he 
would much prefer to do that. 

Tom. Pardon me, if I intrude {closing door slowly and 
advancing to table ; Ruth does not look at hiin and shows 
decided nervousness ; Jim still at desk, left), but from what I 



THE KING PIN 27 

gathered as I came in, it appears that I can be of some slight 
service. Am I right, Miss Cameron ? 

(Jim goes to rear^ cautiously tiptoes across stage and dowfi to 
desk, right. ToM looks at Ruth. Ruth still looks away ; 
after pause.) 

Ruth. Yes. 

Jim {insinuatingly'). Anything I can do in the composing 
room, Tom ? 

Tom. Yes, set up the Book of Job. 

Jim (astounded). Huh? What for? 

Tom. For the sporting page. (Jim looks at him i?t utter 
amazement, then tapping head with hopeless look and gesture, 
exits right front, slamming door as he goes. Pause. Tom 
stands at table faci?ig front. Ruth seated at left of table. 
Tou, curtly.) Well? 

Ruth (turning in chair and extending hands appealingly on 
table). Mr. Ward, Tom, please do something to help us — Dad 
is in his office acting like a madman, telephoning all the banks 
for help, and getting very little. He says the bank can't hold 
out until twelve o'clock. 

Tom {evenly). You heard your father's report of my finan- 
cial condition yesterday. 

Ruth {hopelessly — looking away). Yes, I suppose it's no 
use, and we are paupers. 

Tom (evenly). Exactly, and when your father gets through 
with me, I'll be a pauper {leaning toward her a?id capturing 
her hands), ready to begin all over again. 

Ruth {loo ki fig at him a?id trying to free her hands, ToM 
looking directly at her and she looking away). Please don't, 
Tom, you mustn't ! (Struggles to free her hands.) Really 
you mustn't ! (She turns head ; looks at him.) I — I don't 
want you to. 

(Tom releases her hands as if stung, and straightefis up. 
Ruth looks disappointed.) 

Tom (coming to front of table around right with exaggerated 
politeness). I am sorry to have so far forgotten myself as to 
cause you this inconvenience. 

Ruth (rising). Please don't think of it in that way. 
(J^ooks away. ) Perhaps, perhaps, it was I who forgot myself, 

Tom (taking her iti his arms). You mean ? 



28 THE KING PIN 

Ruth (hastily freeiftg herself from Tom, who releases her 
very reluctantly ; she is very agitated). I mean nothing — I 
was thinking of Dad. Oh, please, can't you do something ? 
Issue an extra and retract that statement. That would help. 

Tom (reflectively). Not a bad idea. And if I should get 
out an extra? 

Ruth. Oh ! I would simply love you ! 

(Tom takes step toward her as if to embrace her, stops ^ re- 
flects, and leans against table.') 

Tom. No — I think the sacrifice on your part would be too 
great to warrant the step. 

Ruth (taken aback, then recalling the sarcasm of the re- 
mark). Oh ! you beast ! 

(Starts for door rear left. Betty enters rear left.) 

Betty. Oh, here you are ! 

i^^OM. glances around, then with hopeless swing of arms goes 
to desk, where he sits and lights cigarette, then looks va- 
cantly at desk, smoking meanwhile.) 

Ruth {with angry glance at Tom). Yes, I am here, but I 
won't be long. (Starts for door.) 

Betty (clutching 'R.vtb.^s arm; KvTU stopping). Remem- 
ber you lunch with me to-day. But come up-stairs with me. 
I have some pictures up there, and I want you to take them 
home. You'll come, won't you ? 

Enter Jim, right front, stops at Tom's desk. Betty opens 
door left rear. Ruth looks at Tom, who is oblivious of 
her glance. 

Ruth {ready to weep). Yes, I'll come. \Exit. 

Betty (leaving door open, coming down stage short distance). 
Tom, I don't know what happened, but whatever it was you're 
a beast. 

{Stamps foot and exits. Jim looks at door then at Tom, who 
is still absently gazing at the pigeonholes and smoking. 
Jim crosses to his desk.) 

Tom (swinging i?i his chair). Jim. 

Jim. Huh ? 

Tom (solemnly). Jim, I'm beginning to believe that* 



THE KING PIN 29 

Jim. So am I. Your bray would deceive an expert. 
Tom. Oh, sliut up. 

(Swings back again to desk and begifis to push papers a?id 
books iinpatiently about.') 

Enter Cy., rear rights very much agitated ; stops in doorway, 

Cy. {angrily'). Ah, here you are. 

(Jim, who has seated himself on desk, puts up arm as if to 

ward off blow, then sloivly drops arm. Tom sivings to 

front a?id ce?iter looking at Cy., who comes down center,) 

Tom {impatiently). Yes, here I am. 
Jim. Here we are. 

(Cy. makes gesture of impatience.) 

Cy. Well, can you help me out? 

Tom. Your investigation of my bank account should tell 
you that I can't. 

Cy. But even a few hundreds or a thousand would help 
tide us over until twelve o'clock, and then the clearing house 
committee will investigate our books, and, finding everything 
all right, the other banks will advance us enough ready money 
to help us over the crisis ; but I must have enough to carry us 
over until twelve o'clock, or the bank will close its doors — 
bankrupt. 

(Cy. drops into chair ^ buries face in hands. Jim lifts hands 
in mock blessing.) 

Jim {solemnly). Let us pray ! 

Tom. It seems strange, Mr. Cameron, that a man of your 
influence should want for a little financial aid. Why don't you 
apply to your political friends ? 

Cy. (helplessly). I have asked them for help, and they have 
turned me down. I have turned everything possible into ready 
cash, and it still looks hopeless. Twenty or thirty thousand 
more would easily carry us over the crisis. 

Tom (slowly). And you have come to me for that amount? 
Your own investigations showed me to be very near the ragged 
edge of ruin, and now you ask me to help you, after you have 
threatened to ruin me. 

Cy. (angrily). Yes, and I'll ruin you yet. You caused 



30 THE KING PIN 

this run, and you'll suffer fur it. (^Enier Ruth.) I'll break 
you, Ward, and I'll set you up as a puppet to be laughed at. 
Next week the carnival takes place, and you'll ride through the 
streets in robe and crown, king of the carnival — and a pauper. 

(Ruth goes to Cy., and places her hand on his shoulder. 
Tom rises as he sees her, Jim stands leaning against the 
desk.) 

Ruth. Daddy — please, what does this mean ? 

(Cy. makes one or two false starts. Tom ijiterrupts.') 

Tom. Your father has been picturing to me the joys of my 
life after he finishes with me. 

(Ruth turns from him.) 

Cy. Enough of this. I was a fool to come here at all. 
You will be served with a notice of foreclosure Monday morn- 
ing, whether the bank fails or not. That's all I have to say 
to you. Come, Ruth. 

Tom. Just a minute, please. (Cy. and Ruth stop.') Jim, 
go down and get a blank check on the First National Bank 
with Burton's signature. Hustle ! 

(Jim exits right rear, Cy. co7nes back to table, 'Rwngoes 
to Jim's desk.) 

Cy. Well ? Every moment here is time wasted ; I want 
and I must get a loan large enough, to meet this run. 

Tom. And if you don't you'll fail. You'll fall into the pit 
you dig for me — a pit which to your way of thinking was justi- 
fied by the end you sought, but which to my way of thinking, 
and as I am sure it would be regarded by any honest man — it 
is vilely criminal. 

Cy. {sneering). Criminal! Ruth, your father is a criminal, 
do you hear ? (Ruth does not turn but remains seated, look- 
i?tg tensely straight ahead. Cy., to Tom.) You young up- 
start, if you find me such a hardened criminal, why don't you 
have me arrested and be done with it ? 

Tom. You're too clever a man to invite arrest, Mr. Cam- 
eron. Remember I said "criminal," not "illegal." 

Cy. (sneering). A fine distinction, which I fail to grasp; 
but come^ what do you want ? Time flies, 



THE KIMG PIN 31 

Enter Jim, rear right ; carries check, which he hands to Tom, 
who turns to desk, takes pen atid fills out check. 

Tom. Very true, Mr. Cameron. {Turns to him.') You 
said thirty thousand would be sufficient ? 

Ruth (with angry glance at Tom). Come, father, I believe 
Mr. Ward is trying to keep you here. 

Cy. (turning to go). And ruin my chances of getting a 
loan. 

Tom (rising). Just a minute. {Goes from desk to Cy.) 
I regret very much that I lacked enough foresight to keep that 
article out of the Post. I also regret to deprive you of tlie 
pleasure of making a pauper out of me. (Gives check to Cy.) 
This check, on the First National, is filled out for the full 
amount of the mortgage which you hold, and will be honored 
for that amount. I would advise you to hurry. Mr. Fred- 
ericks will show you out. 

(ffe bows with exaggerated courtesy to Cy. and Ruth, and 
turns and goes to desk, where he sits, and fi?ially drops 
his head in his arms. Cy. makes several ineffectual at- 
tempts to express his gratitude and then turns hurriedly 
and exits through doorway, left. Ruth goes to table, 
looks at Tom and moves as though to go to him, then with 
a sigh she turns and walks slowly off through doorway, 
rear left.) 



CURTAIN 



ACT III 

SCENE. — Room in Cyrus Cameron's home. Time, the same 
evening. Door down stage, left. Wide door with curtain 
opens diagonally into a room rear left. Through this door 
can be seen a davenport backed by palms, if desired. Two 
French windows, rear, opeti, hung with curtains, which are 
looped back, shoiv a garden backing, and a balustrade, inside 
of which a few porch chairs are placed. Wide door, right, 
opens into room right. Medium-sized table down stage, 
right center, over which is hung a large electric dotne. 
Chairs near table and about room. Moonlight shining from 
rear right, illu77tinating the porch, and shini?ig through the 
windows, footlights low, light in dome, rooms at both sides 
brightly lighted. The girls all wear evening gowns. Men, 
except Thomas, Har. and Con., wear formal evening dress. 

(Har. is leaning against front of table, facing front. Con. 
seated at table, right, smoking.) 

Con. Oh — hum — there's another hope gone. We won't be 
able to get a cent from Cameron now, just when we need it 
most, — and merely because I withdrew my account to keep from 
losing it. But never mind — at least he's going to foreclose on 
Ward, and that's a big thing in itself. Humph, I wonder 
where he got the money to tide him over ? There must be a 
dark horse somewhere. It looks as though we won't be able to 
help the organization very much this year. 

Har. But the organization needs the money. The cam- 
paign fund is low ; too low to carry the election. 

Con. You're right. But if we can get a few of the corpor- 
ations around this town to contribute, we can get along all 
right; if not, we'll use the city deposit. (^Carelessly.) Merely 
borrow it, you know. Cameron will fix that all right. 

Har. You bet he will, and we'll elect Fitz yet, in spite of 
all Ward's howling. 

Con. Don't crow — you're not out of the woods yet. 

Har. I know we're not out of the woods yet, — but at least 
we've reached a clearing. 

Con. a clearing? 

32 



THE KING PIN 33 

Har. Yes, and that's just the trouble. We've reached a 
clearing — but who is on the other side? Cameron built his 
own trap, and I'll bet my hide that the man who put him in it 
had a hand in pulling him out, — and if he did — {throwing up 
his hands) good-night, Fitz, and us. 

Enter Cy., right ; stops, 

Cy. Good-evening. 

{Advances to back of table. Har. goes to left of table. Cy. 
looks from one to other.) 

Con. (languidly). Hello, Cameron. Pretty tight squeak, 
this morning? 

Cy. (impersonally). Well, rather. 

Har. Er — yes — but you were tided over all right. 

Cy. Yes. 

Con. What's the matter, Cameron ? Sick? 

Cy. No — but I'm wondering ^hy you are here. 

Con. (smiling). That's easy. We came to see about that 
foreclosure. You want to foreclose Monday morning so as to 
be sure and have everybody know it Monday night. 

Cy. Why so soon ? 

Con. So that when he is crowned king of the carnival 
Monday night he'll enjoy it more. 

Enter Tom, right ; stops in doorway unnoticed. 

Cy. (bringing hand down angrily on table). Enough of 
this. I've finished with you two for good. This morning 
when I was in trouble, you both deserted, and now when it is 
all over, you are back, ready for more crookedness. Well, 
from now on I'm the wrong party to apply to, that's all. (Con. 
has riseti. Cy. turns, walks toward rear and turns again.) 
But you might be interested to know that the mortgage on the 
Post is paid — in full. 

TT ' !- (astonished^. What? 

Tom. Yes, paid in full, this morning. (They look at him 
surprised as he advances to table.) Connors, and I think I 
may include your very able assistant, you played your game a 
little too fast. You thought that by pitting the apparent 
poverty of the Post against the wealth and cleverness of your 
party leader, you could gain your ends with the least possible 



34 THE KING PIN 

danger to yourselves. From what I have heard it is apparent 
that you played both ends against the middle — but — unfortu- 
nately for you, the middle dropped out — and, gentlemen, you 
lose! (Har. smiles easily; Con. sneers.) Mr. Cameron, 
have you anything more to say to those men ? 

Cy. Nothing. 

Tom (rneanifigly). Neither have I. 

Con. (Jookiftg from one to other ; going to door^ right). 
Humph ! another candidate for the reformers' club. I guess 
we're in the wrong church. [Exit Con. 

Har. {going to Cy. j Tom looking out after Con.). Maybe 
you haven't anything more to say to me, but I have a whole 
lot to say to you, and you can bet your life I'm going to say it. 
There's going to be a storm soon, so you had better furl sails 
and batten down your hatches. Good-evening. 

{Bows politely ; passes Tom with superior smile. Cy. em- 
barrassed.) 

Enter Thomas, right ; stops in door, 

Thomas. Telephone for you, sir. 

Cy. {relieved). Thank you — er — excuse me, I — will you, 
Ward? I'll be right back. (Tom nods as he lights cigarette. 
Cy. goes to door, right.) And, Thomas, you might tell Ruth 
that Mr. Ward is here. \_Exit. 

Thomas. Yes, sir. {Starts across stage toward left.) 

Tom {without looking up). Thomas ! 

Thomas. Yes, sir. 

Tom. Don't do it. 

Thomas. But Mr. Cameron said 

Tom {calmly). Thomas, if you carry that message to Miss 
Cameron, I'll wring your neck. 

Thomas. Yes, sir. 

Tom. You mean, no, sir. 

Thomas. Yes, sir; no, sir. 

Tom [helplessly). Thomas, please leave. 

Thomas. Yes, sir. \_Exity rights haughtily. 

Enter Jim, left rear. Has napkin tucked in vest. 

Jim {surprised). Hello, welcome home. 

Tom. Thanks. 

Jim {advancing and perching on table, facing front). Gjmrp^ 



THE KING PIN 35 

a smoke. Thanks. {Lights it.') What are you doing here? 
I thought you said you wouldn't come. 

Tom. I changed my mind. Cameron called me up this 
evening and said that he had something very important to say 
to me, so here I am. {Smiles.') Where'd you get the chest 
protector? 

Jim {noticing napkin). Oh, Lord ! {Removes it and looks 
for place to put it. Finally puts it in table drawer. ) That's 
what I get for leaving the table in a hurry. But I couldn't 
stand it any longer. That fool Joe drove me out. 

Tom. How ? 

Jim. Making love to Betty. The poor chap can't see any 
one, and Betty won't look at him — and oh, yes — Ruth is look- 
ing a little down in the mouth. 

Tom {with some restraint). Yes? 

Jim {looking at him pityingly, then mimicking him). Yes ? 
(Seriously.) Yes, Tom — I hate to play Dutch uncle, but why 
don't you ask her to be queen, and have it over — the commit- 
tee's satisfied, and you must choose some one before Monday. 

Tom {calculatingly). I haven't much time left, have I ? 

Jim {lookifig at him disgustedly, then getting down from table 
and starting left rear). What's the use ? 

Enter Joe, Mabel, Edith, Dick, Ruth and Bettv, laughing 
and talking. 

Mabel {advanci7ig to front, cordially extending hand to Tom ; 
rest, including Jim, forming group rear). Good-evening, Mr. 
Ward. 

Tom {rising). Good-evening, Miss Carothers. 

Mabel {coming closer, very confidentially). Perhaps I 
should have said **your highness." 

Tom {startled). Who told you ? 

Mabel {clapping her hands delightedly). Then I was right. 
(Tom vexed. Mabel continues coquettishly.) And you said 
that my name was to head the list. 

^Qyi {puzzled). The list? Of what? 

Mabel. Of royal possibilities. 

Tom. Oh, yes, and as I remember it, I emphasized *' pos- 
sibilities." 

Mabel {disappointedly and haughtily). Oh, my mistake — 
I beg your pardon. 

{She goes rear to Jim, talks with him a moment, and they go 



36 THE KING PIN 

through window to porch^ where they sit talking. As she 
leaves him Tom looks after her with a smile, then sighs 
and starts for door right, Joe sees him^ heads him off 
at door. Edith, Ruth, Betty and Dick are in group 
rear, talking together.) 

Joe (taking Tom by arm). What's your hurry? 

(JDraws him back to table.) 

Tom. I didn't want to wear out my welcome. (Pause.) 
I'll stand without hitching. 

Joe (sheepishly withdrawing hands'). Say — Tom — you like 
me pretty well, don't you ? 

Tom. My dear boy, after your very able speech in my office 
this morning my love for you has become a consuming passion. 

Joe. Aw, quit it. I'm sorry about this morning, but I 
don't want to be jollied now. I mean it ; do you ? 

Tom. Um — well, if Betty is willing, I guess I can stand it 
all right. (Turns — calls.) Betty, Betty 

Joe (grasping him by arm). But I haven't 

Betty. Yes? 

(Leaves group, comes down stage. Dick and Edith say a 
few words to Ruth, and go through window to porch, 
where they walk back and forth engrossed in each other. 
Betty comes to back of table, Tom right, Joe left. Betty 
looks at Tom questioningly. Ruth is at window looking 
out.) 

Tom. This young man, after very beautifully denouncing 
me this morning, is now very anxious to find out what I think 
of him. Shall I tell him? 

(Joe is very much embarrassed.) 

Betty (surprised, then wickedly). I should hate to hear 
you swear, Tom. 

Joe. Aw, quit it. (With determination.) Betty — I asked 
Tom's opinion of me so I might possibly find out how you felt 
about it. I haven't found out, so I'm going to tell my side of 
the story. 

Betty. Will it take long ? 

Joe. No, very short— I love you, Betty, I love you dearly 

(Tom turns, ^oes to door right, Betty turns haughtily 



THE KING PIN 37 

and goes rear left toward door, Joe, speechless y watches 
her.^ 

Betty (very coldly). If Mr. Cameron wishes to enlarge 
upon this subject (changing her haughty attitude laughingly , 
and throwing Joe a kiss), he will find me in the garden. 

(She exits rapidly, followed quickly and eagerly by Joe. 
Tom still rear left.) 

Ruth (turning and coming down stage). Mr. Ward 

(Tom turns and faces her without a word.) I am very sorry 
that you could not dine with us this evening. i^Goes to table.) 

Tom. Undoubtedly. But after being ordered from the 
house by your father, and also being very emphatically snubbed 
by you, I tried to save you a greater sorrow by not coming. 
Anyhow, I was busy. 

Ruth. Quite evidently you have not lost your talent for 
saying the wrong thing. If all that you say is true, why are 
you here now ? 

Tom. At your father's request. (Suddenly changes tofte.) 
But I was glad of the opportunity to come, for I did want to 
see you and speak to you. 

Ruth. You seem to have availed yourself of that oppor- 
tunity. 

Tom. But not as I meant to. 

Ruth. It was your privilege to do as you pleased. 

Tom. Yes, but when I saw you, and remembered this morn- 
ing, I said what I did not mean. 

Ruth. Do you often do that ? 

Tom. Please, Ruth, that's unfair. I want to tell you how 
sorry I am for my rudeness at the office this morning — I was, 
as you said, a beast. 

Ruth. No — the rudeness, if you wish to call it that, was 
greatly counterbalanced by your generosity. 

Tom. a generosity made possible by my previous idiocy. 

Ruth. But it was generous of you — Dad said so. Why — 
even Mr. Connors withdrew his account. 

Tom. He did ? But he came to my office and tried to get 
me to retract that article. (Thoughtfully.) Perhaps he didn't 
feel as anxious to risk his money as he did to put me out of the 
race. 

Ruth. Well, he didn't succeed, and — (extending her hand) 
I'm awfully glad. 



38 THE tcmc Pl^ 

(Tom /a/ees her hand as Cy. enters right. ^ 

Cy. A-hem, ah — do I intrude ? 

(Tom looks at Ruth, who meets his glance and then turns 
away, Tom releases her hand with a discouraged sigh.) 

Tom. No, not at all. 

Cy. {coming to table and smiling affably). Well, everything 
is looking bright for the carnival, isn't it ? 

Tom. Yes — thanks to your kind assistance. 

Cy. Mr. Ward — you're not going to let the memory of my 
folly — for 1 admit that it was folly — stand between us now, I 
hope? 

Tom {slowly). Um — no. But I may allow it to be a guide 
in my relations with you in the future. 

Ruth. Now, gentlemen — do you want to start quarreling 
all over again? Please don't. And now it's time for the 
dancing to begin. We should be pleased to have you stay, Mr. 
Ward. 

Cy. Yes, to be sure. You must stay and dance. Forget 
your troubles and worries, and enjoy yourself. You work too 
hard. 

Tom {deprecatingly). Not at all. {To Ruth.) Yes, I 
shall be delighted to stay. But I thought that the carnival 
court was to do its final rehearsing to-night ? 

Ruth. It was — and it has — earlier in the evening. There 
was nothing to do but a lot of final instructions. Then you 
will stay ? 

Tom. Yes, thank you. 

Ruth. I'm so glad. (She goes to window rear left and 
calls.) Come, people. 

(Mabel and Jim rise, come through window and exeunt with 
Ruth rear left. Dick and Edith cross porch from right 
and exeunt left rear ; Ruth exits left rear.) 

Cy. {after a pause). Well, this has been a sorry mess, 
hasn't it ? 

Tom. Well — it depends on the point of view. I'm not 
kicking. 

Cy. Of course not. Neither am I. I was lucky to get out 
of it as easily as I did. 

Tom. Yes, I suppose so. There is no question as to the 
bank's soundness now. 



THE KING PIN 39 

Cy. No — and I have you to thank for it. 

Tom. But for me there would have never been a question. 

Cy. Perhaps not. But at the same time if you hadn't paid 
that thirty thousand, there would have been a different story to 
tell. I would be a ruined man. 

Tom. I should hardly say that. You could surely have 
prevailed on some of your political friends to help you out. 

Cy. {bitterly). I tried it. Do you suppose that, under the 
circumstances, I should have appealed to you until I had tried 
every other method ? 

Tom. No — it doesn't seem logical, especially in view of the 
fact that you considered me a pauper — or at least intended 
to make a pauper of me as the easiest way to realize your 
ambition. 

Cy. {deprecatingly). But you misunderstand. 

Tom. No — I don't think I do. Very naturally you want 
Fitz elected. That will mean that your bank continues to be 
a repository for the city funds and a well paid go-between in a 
great many of the city's financial transactions. It isn't fair, 
Mr. Cameron. Give the other banks a chance to bid for the 
prize, and then, if you underbid them, you should have the 
deposit and not otherwise. 

Cy. Ward — you have hit the nail on the head. That is 
one reason for my support of Fitz. Another was my antag- 
onism to you, but that is over — this morning settled that. 

Tom. But, Mr. Cameron, as I said before — that was my 
fault entirely. But I will say this in my defense : I did not 
think that it would be taken as seriously as it was. I merely 
did it in a spirit of revenge ; a childish desire to anger you and 
show you that I was not afraid. 

Cy. Well — it's all over, and I am willing to let the past be 
forgotten, except in the light of a profitable experience 

Tom. I think the profit is mutual. 

Cy. With mine much the greater, for I have saved my 
business, minus, perhaps, the city deposit, about which you 
seem so deeply concerned. 

Tom. Don't you expect to get it next year? 
Cy. (shrugging his shoulders'). Not unless we bid higher 
for it than we did last year. 

Tom. But if Fitz wins the fight and becomes mayor, he 
ought to swing the city business to you. 

Cy. He ought to, and perhaps he'll try. But the bank 
will bid with the others, and take what it deserves. 



4.0 THE KING PIM 

Tom. Fine ! Won't Fitz be pleased? 

Cy. No, he won't, but I've finished with him and his 
crowd for good. They all wanted to see you put under, and 
were willing to have me do the job, but just as soon as I got 
into trouble they quit me. Every single man jack of them 
either withdrew his deposit or refused to give me any help. 

Tom. So I suppose you will discontinue your campaign for 
Fitz? 

Cy. (after a pause). Ward, I like you and, notwithstand- 
ing to-day's trouble, I like your methods, — -and to show it I 
have ordered the bank to be decorated for Monday night. 

Tom. Thank you. 

Cy. But I can't go back on my promise. I promised the 
organization that I would help them, and I will. As I said 
yesterday, "From now on, it's war to the knife," but the war 
will be carried on in the open and, as far as I can help it, will 
be played fair. (^Extends hand across table,') 

Tom {looking at Q\., taking hand). Yes, sir, I believe it 
will, and I'm glad. 

Enter Betty and Joe, rear left. They come down stage, 
center, arm in arm. 

Joe. Hello, Dad. Hello, Tom. Aren't you sort of pre- 
vious about shaking hands ? Gee, news does travel to beat 
four of a kind. 

{He glances at Betty and grins happily. Betty smiles 
and looks away embarrassed,) 

Cy. What? You don't mean 

Joe. Just that. 

Cy. Well, I'll be {Looks at Betty, who is still 

looking away.) And — but who 

Tom {hastily). Allow me to present my sister, Mr. Cameron. 

Betty {turning). I believe Mr. Cameron can well dispense 
with this introduction. 

(Cy. astonished.) 

Joe {delightedly). All down, — set them up on the other 
alley. 

Cy. Er — er — er — but— Miss Ward, I was busy yesterday 
morning, and undoubtedly I was rude. But I am sorry, and I 
am glad to see you with us to-night {slyly), especially under the 
circumstances. 



THE KING Pm 41 

Betty {extending her hand, which Cy. takes'). And I am 
glad to be here {with a glance at Joe), even under the circum- 
stances. 

Joe {getting behittd Cy., taking him by the shoulders and 
marching him to door, left rear). Now, out you go. They 
want you out there. (Cy. exits, laughifig. Joe comes down 
stage to Betty. ) How about a little dancing, Betty ? 

Betty. Just the thing. {She takes Joe's ar^n and they turn 
to go out rear left. As she turns she sees Tom, who has gone 
to window rear and stands looking out.) Oh, I forgot. Tom, 
why don't you come in and dance? 

Tom {turni?tg). I'll be in soon. Run along, now, kids, 
and enjoy yourselves. 

Betty. All right, don't be long. 

[Exits with Joe, rear left, 

Joe. I'll save you a dance. 

Tom. Thanks. 

{Exits slowly through window to porch and off right rear.) 
Enter Mabel and Jim, left rear. 

Jim, Let's stop here. It's nice and cozy — and lonesome. 

Mabel. Lonesome ? 

Jim. Oh, no. Of course not, with you here. 

Mabel. Rather pretty, but quite unnecessary. 

Jim. Then you know I'm not lonesome when you're around. 

Mabel {haughtily). I know nothing of the sort. 

Jim. Bump ! 

Mabel. Did you speak? 

Jim. Yes, — I said, " I'm a chump." 

Mabel {very haughtily). Oh, indeed. 

Jim. Yes, I am — no, I'm not. Help ! What am I? 

Mabel. Jim, what are you talking about? 

Jim. You — nothing — I dunno. {He goes to center and 
puts his finger to his forehead as if in thought. Mabel 
watches him in amazemetit.) I'll do it, I'll do it — done. 
( Goes to Mabel and leads her to window, rear ; stops and 
turns.) Do you see that lamp on the table? 

Mabel (in bewilderfnent). Yes. 

Jim { pointiftg). Do you see that moon ? 

Mabel. Of course. 

Jim. Well, that lamp is to the moon a little blot of nothing 
surrounded by glass. I resemble the lamp when I am with 



41 THE KtUQ Pl^ 

you, trying to parade my feeble rays in the light of yoiii celes- 
tial radiance. 

Mabel {ejithtisiastically). Oh, Jim, how pretty. 

Jim. Yes, I thought it pretty good myself when I read it. 

Mabel. You're a horrid thing. 

Jim. Oh, if that's the way you feel about it 

(Starts to swagger out^ right.) 

Mabel. Jim! (Jim stops, turns.') You're not so — so — 
very horrid. 

Jim {crossuig to her, but she keeps out of his reach'). How 
horrid ? 

Mabel (^forming a zero with her hand^. Oh — ^just about 
so horrid. 

Jim (trying to catch her, but she eludes him; they stop; 
Jim, center stage ; Mabel, rear, at windoiv). Aw, Mabel, 
you can't tell a fellow a thing like that so far away. 

Mabel. Yes, I can — {smiling) unless he's an awfully good 
runner. \^Exit through window and off stage, right. 

Jim. That's me. (^Follows her.') 

Enter Har. and Thomas, right front. 

Thomas. But Mr. Cameron is busy. Can't you wait? 

Har. No, I want to see him now, and (looking about the 
room) I think that this is about as good a place as any. Tell 
him I want to see him here. 

Thomas. But 

Har. No "buts." You know, in the course of the con- 
versation I might accidentally tell him how I got that letter. 
Now, will you go? 

Thomas (^frightened). Oh — yes, sir; immediately, sir. 

\^Exit, rear left. 

Har. (rubbing his hands). We lose — but I'll win, — and 
Cameron won't be quite as big a boss as he was before. I'll 
get a little money from him now, — and then keep the letter so 
that I can pull the strings. What he says goes ; but from now 
on I'll tell him what to say. 

Enter Cy., rear left ; stands in door. 

Cy. (coldly). You wished to speak with me? 
Har. Yes, I have a little matter in connection with this 
Fitz affair, which I would like to straighten out. 



Ttt£ KING HM 43 

Cy. {advancing). I thought that I had made myself very 
clear on that point. Whatever my position in regard to the 
coming election, it is one which does not require any assistance 
from you. 

Har. I didn't come to offer assistance, I came to get 
yours. 

Enter Ruth, rear left ; stops in door, 

Cy. {at table). What? Youdaretosay that to me after what 
has happened ? 

Ruth {crossing to Cy., putting her arms around his ?ieck). 
Daddy, dear, what's the matter? More politics? I thought 
that I could have you at least for one evening. 

Cy. And so you shall, dear. I think, Har wood, that you 
won't have any trouble in finding your way out. 

Har. No, I'm sure of that, but {insinuatingly) before I go 
I'd like to talk to you about a letter which you received from 
Mr. Fitzpatrick a few days ago. 

Cy. {starting, then dazedly to Ruth). Yes, dear, — I'll be 
with you in a minute. Run along now. 

Ruth {as she exits rear left). Don't be long, daddy. 

Cy. {tensely). Now, Harwood, what is it ? 

Har. {easily). Just this, I have a letter — no matter how I 
got it, and I think that you know what it is. How do you 
think it would look in print, eh? 

Enter Tom, rear rights slowly , head bent as if in thought. 
Starts down stage through window, but stops when he 
hears Qy,^s voice, 

Cy. Harwood, you wouldn't dare. 

(Tom hides behind curtains,"^ 

Har. I wouldn't, eh ? Try me. 

Cy. {tensely). What do you want ? 

Har. Oh — nothing impossible — ^just a small matter of five 
hundred dollars — to defray current expenses — and the possession 
of the letter as a safeguard. 

Cy. {pacing back and forth). But this is blackmail ; low, 
scoundrelly blackmail. 

Har. If it's any worse than robbing the citizens of this 
town by using city money for your own benefit, I'd like to 



44 THE KING PIN 

know it. But that has nothing to do with the case. You have 
heard my terms ; do you accept ? 

Cy, {at lefty seated ; facing front ; dully). No! 

Har. {at table pulling letter from his pocket , and holding it 
up). Oh, I have it, all right. Once again, do you accept ? 

Cy. (as before). No ! It's blackmail ! 

(Har. angrily throws letter on table and crosses to Cy. 
Tom slips from behind curtain a7id, keeping his eye on 
Har., goes quietly to table y where he picks up letter.) 

Har. {to Cy.). You fool — you know you'll give in. You 
must. You are merely playing against time in the hope that 
your ready wit will pull you through. There's many a slip — 
sometimes. But I'm taking no chances. I have you in a vise, 
Cameron, and the harder you struggle the harder I'll squeeze. 
Do you agree to my terms ? 

(Tom is still unnoticed.) 

Cy. {rising unsteadily). I — I suppose — •! 

Tom {evenly). Before saying anything rash, Mr. Cameron, 

allow me to agree with the gentleman, that there's many a slip. 

{They turn, astonished,) You made the slip, Harwood. 

{Crosses to Cy.) Here is your letter, Mr. Cameron. (Cy. 

grasps it feverishly, and Har. moves as if to grasp it. Tom 

intercepts him.) No, Harwood, you've played your game and 

lost again, — so— {evenly) be a good loser. 

{He indicates door, right.) 

Har. {sneering). Oh, I'm a good loser, don't worry. 
Good-evening. 

{He bows low, and swaggers slowly off right.) 

Cy. {going to Tom, taking his hand). Thank you, Tom. 
I can't say any more, I'm too grateful. 

{He shakes Tom's hand fervently, ttirns and hurries off 
right, greatly agitated.) 

Tom {sighing, going to table, sitting, sighing). Oh, hell ! 
Mr. Fixit— that's me. 

{Buries his head in his hands tvith a sigh.) 



THE KING PIN 



45 



Enter Ruth hurriedly through door doivn stage left. She 
starts across stage. 

Ruth {seeing Tom a?id stopping). Oh, 1 — I — thought you 
had gone. 

Tom. Were you hurrying to verify your surmise? 

Ruth. Perhaps. {She goes to front of table.) 

Tom (at back of tabky both facing front). Perhaps what? 

Ruth. Perhaps — er — yes. 

Tom. Or perhaps no? 

Ruth. Perhaps. 

Tom {looking dazed, then collecting himself). Well, then, 
if that is the case, perhaps I may encroach on your time long 
enough to deliver a message from a very particular friend of 
mine. 

Ruth. Oh — what is it ? 

Tom. Er — he is — he — that is — he is to be king of the car- 
nival, and — er — he wants you to be queen. 

Ruth {smiling wickedly). Do you want me to say yes? 

Tom. Of course, er — yes, surely. 

Ruth. But supposing some one else wants to be queen ? 

Tom. What's the difference ? He wants you. 

Ruth. But I think I should know who the man is. You 
want me to accept without knowing anything about him. 

Tom. Well, 1 can't vouch for his looks, but he is honest, 
and a gentleman. 
[ Ruth. Oo-oh, but aren't you fond 'of yourself ! 

Tom {coining around table to fro?it). When did you find 
out? 

Ruth {turning from hint). In your office this morning. 

Tom. Then you will be queen ? 

Ruth {coldly). Why don't you ask Mabel? She is just 
dying to have you. 

Tom {coming close to Ruth, 7vho is still turned from him). 
And if I should ? (Ruth bites her lips atid looks dowft^ neiv- 
ously toying 7vith articles on the table. Tom, insiste7itly.) 
And if I should ? 

Ruth {shyly as she turns slowly toward him). I shouldn't 
like it a bit ! 



CURTAIN 



New Books of Dialogues 

^— ^^a^W^M^^—M — — — ■ ■■!— ^M— I ■ ■■ ■■■■■ I ■ ■ ■ 1^— — — I I ■■ I ■ ■ L^ — — — ^— — Bg 

THE CHILDREN'S VAUDEVILLE 

An Entertainment in Six Parts 

By Willis N. Bughee 

For a large number of children of from six to twelve years of age. 
Offers a simple vaudeville show comprising an overture and six acts, each 
ten minutes long. Easy, bright and pretty. Strongly recommended. 

Price, 2j cents 

CONTENTS 

Overture Juvenile Orchestra. 

PART I. — The Dumpling Brothers 

Comedy Acrobats, 
PART II. — Master Willie and Miss Susie Hopper 

Monolo^ists. 
PART III.— The Top-Notch Dancers 

Novelty Dance, — The Sweet Surprises, 
PART IV. — The Lilliputian Concert Company 

Song Hits, — The Suffering Gents, etc, 
PART V. — The Ee)na May Booth Company 

Sketch, — Room for One More. 
PART VL — Lillian Henry and Russell Irving 

Illustrated Story, — Mrs. Grundy s Calendar. 

DANDY DIALOGUES FOR CHRISTMAS 

By Harriet Wilbur, and others 
Eleven pretty and effective dialogues appropriate to Christmas, well 
varied in length and character to suit all circumstances. Containing : 
A Christmas Dinner, Holly and Mistletoe, Father Christmas, Santa Claus 
{Monologue'), Offerings of the Year, Christmas Capers, Return of Mother 
Goose, FaiKy Steeplecrown, Santa Claus at Home, Santa Claus the First, 
Bachelor's Christmas. 190 pages. 

Price, 25 cents 

BAKER'S PATRIOTIC DIALOGUES 

For All Grades 

By Edward D. Holmes 

A collection of school dialogues based upon well-known and popular 

incidents of American history. Six dialogues of various lengths, from five 

to thirty minutes, historically accurate as well as dramatic and patriotic, ^ 

follows : 

The Boston Tea- Party. Our Nation's Birthday. 

The Capture of the British Sentinel The Evacuation of Boston. 

at Stony Point. General Gage and the Boston 6oyQ* 
"^he Capture pf Msijor Andre. 

Price, 25 cents 



New Plays 



THE DEACON'S SECOND WIFE 

A Comedy in Three Acts 

By Allan Abbott 
Six males, six females. Costumes modern ; scenery, one interior, one 
exterior. Plays two hours and a half. A play of rural life specially 
written for school performance. All the parts are good and of nearly 
equal opportunity, and the piece is full of laughs. Easy to produce ; no awk- 
ward sentimental scenes; can be strongly recommended for high schools. 

Price, 2^ cents 

CHARACTERS 

{As originally p't educed under the title of "Back to Nature^^ at The 
Horace Mann School y New York, by the Senior Class of igog, 
for the benefit of The Athletic Field.) 

(In order of their first entrance) 
Malvina Fitz, the Deacon^ s ''first wife" 
Deacon Barachias Fitz, a bigamist in spite of himself, 
Milton George Washington Fitz, a good specimen of Young 

America, 
Nancy Melissa Fitz, his sister — a close second, 
Mrs. Brown, who likes to Uend to things, 
Kate Rollins, the Deacon's " second wife,** 
John D. Bullock, a captain of industry, 
Mrs. Bullock, his boss. 
Dorothy Bullock, an up-to-date society girl. 
Hartley Bullock, author of ''Why Boys Leave the Farm** 
Earnest Rench, about everything there is. 
Philip Gamboge, professional painter and amateur speculator, 

LOOKING FOR MORE 

A Farce in One Act 

By Clarence Mansfield Lindsay 
Four males, two females. Costumes modern ; scene, an interior. Plays 
thirty minutes. A very easy and lively farce that can be recommended for 
performance by young people. The parts are very evenly divided in op« 
portunity and effective without being in the least difficult. 

Price, 75 cents 

WHAT HAPPENED 

A Sketch in One Act 

Two female characters. Costumes modern ; scenery unimportant. Plays 
ten minutes. A very slight but very funny skit, suitable for a programme 
or for a drawing-room performance without the least preparation in the 
\R'^y of properties. A sure success if played rapidly* 

Price, /J cents 



n. m. Pitiero's Plays 

Price^ SO 0etit$ Eacb 



Miri fHANNFT Play in Four Acts. Six males, five females. 
"***'"v»ili\lin£«lj Costumes, modern; scenery, thxee interiors. 
Plays two and a half hours. 

THE NOTORIOUS MRS. EBBSMITH iJ^^'S.^Tf 

males, five females. Costumes, modern; scenery, all interiors. 
Plays a full evening. 

THF PROFf TPATF Playin Four Acts, Seven males, five 
*"" 1 IVv/rLilVI/l,lEi females. Scenery, three interiors, rather 
elaborate ; costumes, modern. Plays a full evening. 

THF QfHnniMIQTDK'QQ Farce in Three Acts. Nine males, 
ini:i iJV/nUWLilTiliJ 1 IVEiOO seven females. Costumes, mod- 
ern; scenery, three interiors. Plays a full evening. 

THE SECOND MRS. TANQUERAY ^^rSSXe 

females. Costumes, modern; scenery, three interiors. Plays a 
full evening. 

^WFFT I AVFNnFR Comedyin Three Acts. Seven males, 
kJTTLiLil UtXH L,l%UL4i\ four females. Scene, a single interior, 
costumes, modern. Plays a full evening. 

TlIF THTTWriFPRfll T Comedy in Four Acts. Ten males, 
1111:1 lllUill^£iIVDV/L»l nine females. Scenery, three interi- 
ors ; costumes, modern. Plays a full evening. 

THF TIMF^ Comedy in Four Acts. Six males, seven females. 
inCi lllTlEiiJ Scene. a single interior ; costumes, modern. Plays 
a full evening. 

THF WFAITFR ^FY Comedy in Three Acts. Eight males, 
i*^*^ f T EfAlVDIV bjIjA eight females. Costumes, modern; 
scenery, two interiors. Plays a full evening. 

A WIFE WITHOUT A SMILE ^^tl£,f'^tJ^l 

Costumes, modern ; scene, a single interior. Plays a full evening. 



Sent prepaid on receipt of price by 

Walttv ^. pafeer Sc Company 

No. 5 Hamilton Place, Boston, Massachusetts 



LIBRARY OF CONGRESS 



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.THE AWAEENIN6 



THE FRUITS OF ENUOHTENMENT 



BIS EXCELLENCY THE fiOVERNOR 



AN IDEAL HUSBAND 



Play in Four Acts. By C. H. Chambers. 

Four males, six females. Scenery, not diffi- 
cult, chiefly interiors ; costumes, modern. Plays a full evening. 
Price, 50 Cents. 

Comedy in Four Acts. 

By L. Tolstoi. Twenty- 
one males, eleven females. Scenery, c^aracteristic interiors; cos- 
tumes, modern. Plays a full eveniig. flecommended for reading 
clubs. Price, 25 Cents. 

Farce in Three Acts. By 
R, Marshall. Ten 

males, three females. Costumes, modern ; scenery, one interior. 

Acting rights reserved. Time, a full evening. Price, 50 CentB. 

Comedy in Four Acts. By OscAR WiLDE. 

Nine males, six females. Costumes, mod- 
ern ; scenery, three interiors. Plays a full evening. Acting rights 
reserved. Sold for reading. Price, 50 Cents. 

Three 
Acts. By Oscar 
Wilde. Five males, four females. Costumes, modern ; scenes, two 
interiors and an exterior. Plays a full evening. Acting rights re- 
served. Price, 50 Cents. 

Comedy in Four Acts. By Oscar 
Wilde. Seven males, nine fe- 
males. Costumes, modern ; scenery, three interiors. Plays a full 
evening. Acting rights reserved. Price, 50 Cents. 

Play in Four Acts. By Clyde Fitch. Fifteen 



THE IMPORTANCE OF BEINfi EARNEST '"'""' '" 



LADY WINDERMERE'S FAN 



NATHAN HALE 

century in America. 
ing rights reserved. 

THE OTHER FELLOW 



Scenery, four interiors and two exteriors. 
Plays a full evening. Price, 50 Cents. 



Act- 



Comedy in Three Acts. By M. B. Horne. 

Six males, four females. Scenery, two 
interiors ; costumes, modern. Professional stage rights reserved. 
Plays a full evening. Price, 50 Cents. 

Comedy in Four Acts. By C. H. 

Chambers. Four males, three fe- 
males. Scenery, an interior and an exterior ; costumes, modern. 
Acting rights reserved. Plays a full evening. Price, 50 Cents. 

Comedy in Four Acts. By 
Oscar Wilde. Eight males, 
seven females. Costumes, modern ; scenery, three interiors and an 
exterior. Plays a full evening. Stage rights reserved. Offered for 
reading only. Price, 50 Cents. 



THE TYRANNY OF TEARS 



A WOMAN OF NO IMPORTANCE 



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l^alter 1$. isafeer & Company 

No. 5 Hamilton Place, Boston, Massachusetts 



"^ARKHILL & CO., PRINTERS, BOSTON- 



